Motive variation

As previously mentioned, a motive is used as a basic melodic unit, and a melody may contain from one to several motives. Often, only one motive is used in order to retain the unity of the melodic phrase. But the unity itself does not make an interesting case if it s only a succession of exact repetition of notes. Therefore, a motive can be modified, so the unity goes hand in hand with variation  two opposites mixed together in an inviting manner.

Let us look at the commonest ways of using variations on a motive:

1. TRANSPOSITION  a motive is transposed, i.e. moved up or down in pitch, and thereby starts on a different note. The intervals between the notes might also change in some specific places, if no non-tonal notes are used.
2. DIMINUTION  the notes  time values are decreased, often halved (e.g. half note becomes quarter note), which conveys a feeling of speeding up, or acceleration of the melody.
3. AUGMENTATION  is the opposite of diminution  the time values of the notes are increased, often doubled (e.g. quarter note becomes half note). The feeling of slowing down, or deceleration, is the effect of augmentation.
4. INVERSION  the intervals between the notes are put in the opposite directions  raising interval is falling, and vice-versa.
5. RETROGRADE MOTION  the motive is written backwards, starting from the last note of the original unit. This kind of variation is quite rare however, since the recognition of the initial motive is often difficult.
6. RHYTHM PRESERVATION  if the rhythm of the motive is preserved and any other factors, often intervals, are changed, many interesting variations might emerge. Many compositions are filled with this variation technique. An interesting rhythmic pattern is usually easy to recognize (unity again) even though other aspects of the motive change.
7. RHYTHM VARIATION  of course, the rhythm itself can be changed, but a good deal of caution is needed to not disturb the unity of the phrase too much. Subtle variations are often the best, but with good creativity even more dramatic rhythmic changes can be applied with a nice effect.
8. ORNAMENTATION  or decorations of the motive: new notes are added, usually in a way that enhances the harmony (a nice effect is maj to maj9).

Try to practice all the different techniques on a given motive. These are a great tool for writing your own melodies and solos, and can also be used in improvisation.

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